483 
PARK AND C EM ETER Y. 
Tuaillon, Berlin, sculptor; Karl Bit- 
ter, New York, sculptor; Prof. Fred- 
erick A. Ohmann, Vienna, architect; 
Harry Rubens, Chicago, attorney. 
The jury was in session for two 
days, and as has already been told 
in these pages, selected the design 
of Prof. Hermann Hahn, of Munich. 
The successful design, which is il- 
lustrated herewith, presents a figure 
15 feet high, of a lightly draped 
}roung man, who, with one foot rest- 
ing on a block of marble, is holding 
an eagle on his knee. Standing some 
distance behind the pedestal is a bust 
of the poet. A quotation from the 
poet is inscribed on the pedestal: 
"He took to himself an eagle’s 
wings.” 
The model of Hans Schuler is one of the most artistic 
and pleasing of the group. The central feature is a bust 
of the poet on a simple pedestal. A curved wall behind 
bears a large allegorical frieze symbolizing the poet’s life 
and works, and allegorical features at either end suggest 
the character and spirit of his poems. 
The design of Othmar Schinikowitz is conceived on 
somev/hat the same general lines. The central figure is a 
bust similar to Mr. Schuler's, but the wall is closer to the 
bust, and almost encircles it, the allegorical frieze running 
around the entire wall. Only a small opening about the 
size of a door is left at the front. On either side of the 
door, forming door posts, are allegorical reliefs, seated 
figures almost suggestive of Sphinxes, with great con- 
ventionalized wings, rising up like posts at the sides of the 
gateway. With the exception of this rather ponderous 
decoration at the entrance, this design is one of great 
beauty and imaginative feeling. 
Around the inside of the circular wall of Mr. Schim- 
kowitz's design are low relief symbolic groups. At either 
side of the entrance are intertwined clusters of vines 
growing up the wall and hanging over the top. Other 
than these the wall bears no decorations on the outside. 
Georg B. Wrba’s design is one of that finely architec- 
tural type of monumental relief that the Germans know 
so well how to construct. It bears on subsidiary pedestals 
two symbolic figures at either end of the main tablet, and 
a relief medallion of the poet’s head is set into the center 
of the tablet. It is an admirable combination of archi- 
tecture and sculpture. 
Anton Hanak’s design is a typical 
example of the severely convention- 
alized Viennese school, and is a 
somewhat novel conception to Am- 
erican eyes. A simple allegorical 
figure rises from a heavily conven- 
tionalized and decorated shaft. It 
is an interesting example, and might 
tend to stimulate something of orig- 
inality in the American sculpture 
if it could be erected in one of our 
public places. 
The motif of Mr. Hanak’s design 
is to represent the Genius of Na- 
ture rising from a flower, the con- 
ventionalized form of which is repre 
sented in the pedestal. 
MODEL FOR CHICAGO GOETHE MONUMENT. 
Hans Schuler, Baltimore, Sc. 
The model of Albert Jaegers embodies a central sym- 
bolic group placed in the center of a fountain basin. 
Ihe group typifies "Goethe Prometheus,” and portrays a’ 
nude, seated, male figure holding aloft a lamp or funeral 
urn in one hand and with the other releasing spirit figures 
from an enveloping mantle. 
Hubert Netzer of Munich conceives his monument as a 
circular open temple supported by ten fluted Corinthian 
columns in groups of two. In the center is a votive urn 
placed on a shrine. Two low flights of steps lead up to 
the temple and the structure is enclosed with an open 
stone wall broken at intervals by nine small pedestals 
bearing standing symbolic figures. 
C. A. Berman of Munich conceives a great open plaza, 
surrounded by large and closely growing formal trees. 
.4 low enclosing wall borders the oblong outline of the 
plaza. It is open at the front and on either side of the 
entrance are reclining symbolic figures. Closing the wall 
at the rear is another cross wall, in the center of -which 
rises the chief architectural feature of the monument, a 
truncated obelisk bearing an upright, winged, symbolic 
figure rising with outstretched arms on a globe. 
Hugo Lederer’s model takes the form of a massive cir- 
:ular temple with heavy projecting pilasters at intervals 
all around, and with the heavy wall broken with four 
narrow doors. Inside are four seated symbolic groups 
placed against the walls and looking toward a central 
shrine or altar. 
The models are to be exhibited in other cities when 
they leave Chicago, and it is hoped that arrangements will 
be made for their erection in other cities. 
MODEIT. FOR CHICAGO GOETHE MEMORIAL. 
Hugo Lederer, Sc. 
